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1
Ross, Vika. „La vie à travers un kaléidoscope, suivi de Le personnage, du théorique vers la pratique“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43939.pdf.
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2
Stein, Markus. „Definition und Schilderung in Theophrasts Charakteren“. Stuttgart : B. G. Teubner, 1992. http://catalogue.bnf.fr/ark:/12148/cb37093658w.
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3
Seo, Joanne Mira. „Allusive characterization from Apollonius to Statius“. [S.l. : s.n.], 2004. http://catalog.hathitrust.org/api/volumes/oclc/174205418.html.
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Batch, Julia. „Searching for a Savior“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822805/.
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This collection of essays includes a preference that investigates the role and importance of setting and character in a nonfiction narrative. The preface assesses the writings of four great authors, examining how each author use setting and characterization to further the purpose of their story. This collection focuses on four different issues that the author has wrestled with for two decades. While “Desperado” is an investigation into the problems within her own family, “Being Black Me” highlights the authors struggle against the racial inequality her hometown. “Voices In The Dark”, the author analyze how the abuse she suffered as a child has influenced her life and contributed to a drinking problem that is explored in a later essay “Alors On Danse”.
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Bilatyi, Katy Nomthandazo. „Ukuzotywa kwabalinganiswa ngokwesithako sobunzululwazi bume-ngqondo kwiincwadi zedrama ezikhethiweyo zesiXhosa, ngokweemeko zale mihla“. Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/9913.
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Olu phando luza kugxila kuphononongo lobume bengqondo ephazamisekileyo yabalinganiswa, lujonga kananjalo izimo zabalinganiswa ngakumbi abatsha, indlela abacinga nabenza ngayo izinto. Olu phando luza kuphicotha obu bume bengqondo baba balinganiswa kusetyenziswa iincwadi zedrama ezilandelayo: uBuzani Kubawo, kaTamsanqa, uAmaza, kaQangule, uLiseza kutshona kaMbobo, u-Uthembisa noMakhaya kaMtywaku, Isikhwakhwa noBessie kaMtywaku kunye noNdiyekeni kaJongilanga. Olu thotho lweencwadi zedrama zikhethiweyo luza kusetyenziswa kwakhona ukubhentsisa ubungqondo-lukhuni lwababhali ekuzobeni abalinganiswa abatsha njengoongantweni nolwamvila lolu zobo kwindlela ulutsha oluziphethe ngayo. Olu phando lutshayelelwe ngesahluko sokuqala esiqulathe iingxaki zophando, iinjongo zophando, ukubaluleka kolu phando, okusele kubhaliwe ngophando olu, nalapho olu luza kwahluka khona. Isahluko sesibini sibonisa isithako sobuNzululwazi bume- ngqondo nezinye ezikhaphayo ezifana nenkcubeko apho kujongwa ukuba ingaba inkcubeko ayisetyenziswa na ngendlela ebangela ukuba abalinganiswa abatsha bazibone bekwimo emandla yoxinzelelo. Esi sithako senkcubeko sihambelana neso semo yokuziphatha apha kujongwa ukuba ingaba ukuziphatha kwaba balinganiswa batsha akuqhutywa yindlela uluntu olubabona ngayo bephenjelelwa nayindlela abazotywa ngayo ngababhali. Ezinye izithako ezikhapha esi sobume bengqondo seso sobudala apho kugxilwa kwindlela abajongelwa phantsi ngayo ngenxa yeminyaka yabo luluntu nabazali abaphela bebathathela izigqibo ezikhokelela kuxinzelelo nokuziphatha okungekuhle. Esokugqibela seso seOnomastiki apho kujongwa ukuba ingaba indlela abathiywe ngayo abalinganiswa ayinagalelo kusini na kwindlela oluziphethe ngayo ulutsha. Iimeko zoxinzelelo abazibhaqa bephantsi kwazo abatsha azibangelwa ngamagama abawanikiweyo na nekuye kulindeleke ukuba bawalandele ngenkani nokuba imeko ayivumi. Isahluko sesiThathu sakugxila kwizimo zabalinganiswa ze esesiNe sigxile kubalinganiswa nezigulo zengqondo.
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Mvanyashe, Andiswa. „Uphononongo lokuchubeka kwezimo zabalinganiswa kwiincwadi ezichongiweyo zedrama zesiXhosa“. Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1409.
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Le ngxoxo iza kuthetha ngengcingane yokuchubeka. Phantsi kwengcingane yokuchubeka kuza kuthi kuxoxwe ngezi zinto ziladelayo: ukuchubeka lungileyo kunye nokuchubeka gwenxa, ubuso (imvakalelo), izaci zokuchubeka, ukuchubeka nesini kunye nokuchubeka namandla okanye igunya. Ezi zihloko zingaphantsi ziza kubonakaliswa phantsi kwecandelo lesibini ukuya kwelesine ze isahluko sesihlanu ibe sesokukuqukumbela. Ukuchubeka kufumaneka phantsi kwezifundo zesoshiyolingwistiki. Ingxoxo iza kuthi iqale icacise ngesoshiyolingwistiki. Ukuchubeka kuphuhla kakuhle xa isithethi sisebenzisa amagama entetho-ntshukumo anje ngokuncoma, ukuhlekisa, ukuxolisa njalo-njalo. Ingxoxo iza kuthi inabe nzulu ngengcingane yentetho-ntshukumo. Iza kuphinda ingene nzulu icacisa igama elinentshukumo ngalinye. Le ngxoxo ithi ijonge kwaye iphendule umbuzo othi ingaba ngoobani abachubekileyo kukho amadoda nabantu ababhinqileyo. Lo mbuzo uthi ukhokhelele ingxoxo ekuxoxeni ngesini. Ingcingane yesini iza kuthi isetyenziswe ekuphenduleni lo mbuzo kwaye iza kucaciswa nzulu. Kuyabonakala okokuba apha ekuchubekeni bakhona abantu abachubeka ngenxa yezizathu ezithile. Izizathu ezifana nokuthobela amagunya, ukoyika lo mntu athetha naye, ukuhlonipha njalo-njalo.
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文秉懿 und Bing-yee Man. „A study of minor comic characters in Yuan drama“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B3121177X.
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Pei, Kong-ngai. „Fictional characters and their names a defense of the fact theory /“. Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/b4020389x.
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Pei, Kong-ngai, und 貝剛毅. „Fictional characters and their names: a defense of the fact theory“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B4020389X.
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10
Mai, Alex Chih-Yuan. „Sacrificial forms the libretti in English 1940-2000 /“. Thesis restricted. Connect to e-thesis to view abstract, 2008. http://theses.gla.ac.uk/437/.
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Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Chinappi, Franco. „Character culture : the cultural bargain between ownership and appropriation“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33884.
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This thesis is about the cultural bargain; the balancing relationship between author monopoly and user affect desires, as applying to the ambiguity of characters. Character culture is a hybrid of the characters that are created and sold by authors with artistic and legal concerns, and the character-affect-relationship of the audience users of those characters. This study examines the law and industry practices in the United States and Canada as it relates to character and the limited scope of the law in defining just what exactly a character is. Also, I examine the major issues in the cultural bargain between the ownership of characters of authors, and the appropriation of characters by audiences, through the dominate arguments for both authors and audiences and the issue of privileged accessibility to characters. By "appropriate", I am referring to any act of an audience member, utilizing a character they do not own, in new ways, that the original author of the character did not give permission for, or approve. Finally, I present my analysis of how the cultural bargain may experience a balance between both authors and audience, by defining characters using the audience affect interpretation as criteria.
12
Price, Matthew L. „A tale of sight and smell signifying death : Benjy Compson revisited /“. Electronic version (PDF), 2005. http://dl.uncw.edu/etd/2005/pricem/matthewprice.pdf.
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13
Lenihan, Elizabeth. „Drawing the reader in : a collection of short stories“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61240.
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Why do people tell stories? Whether it be the oft repeated, endlessly varied fairy tales passed from one generation to the next, the carefully patterned and strictly worded epics of the ancients or tall-tales told around the kitchen table, people have been telling stories to themselves or others since the day someone uttered the first words ever heard on this planet. In the following essay story-telling is called narrativity and is discussed as a function of the desire to impose meaning on experience. The six stories of Drawing the Reader In are about story-telling and how people fail or succeed as story-tellers. Neither can be said to fully answer the question above, rather they elaborate on the possibilities of there being an answer.
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Roy, Yannick 1971. „La révelation inachevée : le personnage à l'épreuve de la vérité romanesque“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115642.
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Long suspected of being frivolous, of cultivating bad taste and of encouraging its reader's chimerical daydreams, the novel, at least after Cervantes, curiously turned against itself in the name of the reality it was once accused of fleeing. In doing so, it changed radically, of course, since it separated itself from the old idealistic romances which it now named as its enemies; but it also remained, more discreetly perhaps, faithful to its origins, i.e. to the lies and illusions whose profound and secret necessity novelists have never ceased to reaffirm.This dissertation is a meditation on the paradoxical foundation of the novel, which can be defined according to the classical theories of Rene Girard and Mikhail Bakhtin. The former, by assigning the novelist the task of revealing the "novelistic truth", insists on the critical function of the novel, and on the decisiveness of the change brought about by Cervantes; Bakhtin, by placing the character rather than the author at the heart of his reflexion, and by making dialogical "openness" to this character a positive value, subtly defends the necessity of the "romantic lie".
Girard and Bakhtin are both right, as the examples of the three novelists whose "poetics" are analyzed here in light of this paradox illustrate. Paul Valery, though not a novelist in the usual sense, is the creator of Mr Teste, a strange character who lives in perfect conformity with the requirements of the "novelistic truth", but whose life is inconceivable, which makes him a comic figure. Flaubert, enclosing himself in a kind of quiet lucidity, keeps his characters at a distance but still shows a sort of subtle sympathy for them. Finally Balzac, whose posture at first seems more romantic, is no less quiet and distant than Flaubert, albeit in a more discreet way.
These reading exercises, together with theoretical considerations inspired by Bergson's definition of the comic and Kundera's metaphoric definition of the novelist's work as the exploration of being, lead to the idea that the novel is subjected to contradictory requirements between which it does not propose a synthesis, except that of humour -- which is not truly one.
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Anker, Willem P. P. „Die idioot : spieël en skadu ; Sirkus (roman)“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53373.
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Thesis (MA)- Stellenbosch University, 2003.ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text.
AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.
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Dubaux, Liliane. „La caricature littéraire (1830-1870) : l'example de Balzac et de Hugo“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63969.
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Monroe, Suzanne Stolz. „Images of Native American female protagonists in children's literature, 1928-1988“. Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184580.
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The purpose of this study has been to determine prevalent images of Native American female protagonists in Children's Literature from 1928-88, and to note trends in images during the past 60 years. A content analysis of 60 picture books and chapter books has been completed and presented in a descriptive and interpretative format. The most prevalent image of Native American female protagonists in children's literature is a traditional one. This image is consistent throughout the literature from 1928-88, and appears to be represented by both Native American and non-Native American authors and illustrators. Traditional-transitional images appeared between 1957 and 1967, while contemporary images first appeared in the 1970s. In general, the Native American female protagonists in this population of books are presented as strong and positive characters expressing a wide range of emotions. They are named, identified by tribe, and depicted as having multiple skills and interests. They are active and most often appear in rural and outdoor settings within the context of the extended family. Many protagonists are of Southwestern heritage, often depicted as Navajo or Pueblo girls of ages 4-13. Although female protagonists in this population of books are generally characterized as strong and positive, there are still too few books representing strong female Native American images in the whole of children's literature. This research confirms previous findings that Native American male protagonists outnumber female protagonists approximately 10 to 1. Native American authors and illustrators have created approximately one-third of the books in this population. There are 19 Native American authors and 21 Native American illustrators. The earliest books were published by large press; Native press has increased publication since 1975. This research confirms the need for more books featuring Native American female protagonists; more books depicting protagonists from diverse tribal backgrounds, in contemporary settings, urban environments and literate contexts; more books building on the oral tradition and legends of the Southwestern tribes; more involvement of Native American authors, illustrators and publishers in children's literature; and more mentoring of Native American developing authors.
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La, Breche Pamela. „A methodology for the analysis of characterization in Old Testament narrative“. Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Ericksen, Stefanie Lyn. „The multicultural aspects of a major publisher's literature offerings“. Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206123604.
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Corwin, Harney James. „Reading with empathy : the effect of self-schema and gender-role identity on readers' empathic identification with literary characters /“. Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Carlile, Solfa. „Characterisation in contemporary opera and music theatre“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.
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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.
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Melia, Francine. „The self at play? : a case study of reification and dereification in the play environment of American college theatre“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397643.
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This case study aims to better understand the process through which a college theatre actor creates and presents a dereified reified "self' (the character(s) they are portraying) in a play environment, and to consider to what extent this process is conscious. In essence, the actor attempts to take nothing for granted, taking apart and examining assumptions and their cultural context. This study posits that the actor is consciously aware of and is able to recognize and manipulate culture to construct a "self' (the character) within a "play universe." This study is unique as it focuses on the actors themselves as the agents of reification as well as dereification as their processes intersect with the director, the script, and eventually the audience. This study also considers the influence of play theory on developing and breaking the "rules" of the created cultural world of the stage play by utilizing the anthropological research methods supplemented with an analysis of the personal journals of cast members. The subject population is a cast of college-age students (18-28 years old), both males (9) and females (8), from Ball State University's Theatre and Dance Department who participated in the fall 2007 production of The Human Faustus Project, directed by Jennifer Blackmer.Department of Anthropology
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Bender, Ashley Brookner Pettit Alexander. „Personal properties stage props and self-expression in British drama, 1600-1707 /“. [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12081.
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Schuller, Kyla C. „Sentimental science and the literary cultures of proto-eugenics“. Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3356443.
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Thesis (Ph. D.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed June 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 302-329).
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Crosier, Erik R. „Character development through non-linear story format : its creation, use, and applications“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390655.
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The purpose of this creative project is to explore the concept of character development as it appears in non-linear story formats. These formats are those of relatively recent technological advances that have paved the way for stories to be related to an audience in ways that are completely unique to each individual audience member. This project specifically is a murder mystery story, told in such a non-linear fashion. The story is capable of being viewed in a completely unique manner by each individual audience member. From this story, viewer's opinions have been examined, and conclusions have been drawn of the value and significance of non-linear story formats in relation to character development.Department of Telecommunications
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Shishkin, Timur. „Marginalized Characters in Contemporary American Short Fiction“. PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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Piaceski, Daiana Patrícia Follman Pasquim. „Fios de roca e tramas sentimentais: personagens tecelãs em O Continente, Os Sinos da Agonia e O Voo da Guará Vermelha“. Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2422.
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Na roca, no tear, no entrelaçar de fios para a construção de uma tessitura (como ninar e contar histórias aos filhos) pousa, quase sempre, as mãos das mulheres; extrapolando o entendimento literal dos atos de costurar, coser, tecer, fiar, o texto literário apresenta-os, muitas vezes, metaforicamente, como um artifício feminino para ultrapassar ou subverter a ordem patriarcal vigente, assunto espinha dorsal em alicerce teórico empreendido nesta pesquisa. Como corpus teórico, busca-se fundamentação para este trabalho em História das Mulheres do Brasil, Histórias íntimas, Casa Grande & Senzala, Um Teto todo Seu, O Segundo Sexo, e outras. Os textos ficcionais aqui analisados, O Continente (1949), Os Sinos da Agonia (1974) e O voo da Guará Vermelha, (2005), apresentam três perfis diferentes de mulheres que correspondem, de uma forma ou de outra, ao arquétipo - definição de Carl Jung (1976) - da mulher tecelã, cada qual emanando desejos distintos. Seguindo o coração está Ana Terra, no texto de Erico Verissimo (1905-1975), bem como as mulheres em sua linha de sucessão, Bibiana e Maria Valéria; tomada por seus instintos de femme fatale vem Malvina, do mineiro Autran Dourado (1926-2012); enfrentando as imposições sociais, argumentação profundamente arraigada na figura feminina - emerge soropositiva a prostituta Irene, personagem delineada por Maria Valéria Rezende (1942). Analisa-se a construção dessas personagens femininas que, moldadas dentro de um plano arquetípico, correspondem à figura da mulher tecelã e, assim, conseguem ser “donas de seus destinos”, mesmo sob a condição de ordem patriarcal, por meio de suas ações, de seus desejos, de suas influências. Pesquisou-se nas principais histórias literárias brasileiras, como a organizada por Afrânio Coutinho, Alfredo Bosi, Carlos Nejar e outros, fundamentação para a explanação sobre a fortuna crítica das obras, além dos principais cadernos literários impressos e on line, bem como em reportagens. Além disso, formatou-se exclusiva entrevista por telefone, que a escritora Maria Valéria Rezende concedeu diretamente à autora. O trabalho dispõe de levantamento teórico, bibliográfico e literário: inicia com a teoria do patriarcado, seguindo com a fortuna crítica das obras, perpassa os arquétipos do inconsciente coletivo e da mitologia grega, para chegar de fato às obras, onde se identificaram algumas relações de significado que fomentaram as discussões sobre o tema. A análise evidencia os contornos dados às personagens tecelãs, contextualizando-as, temática e historicamente, dentro do universo patriarcal a que elas se encontram submetidas. Mostra como tais mulheres criaram subterfúgios para se colocar nesse universo governado pelo homem e, até mesmo, como fizeram para controlá-lo.In the spinning wheel, in the loom, in the interlacing of threads for the construction of a text (like telling a lullaby to the children) rests, almost always, the hands of the women; Extrapolating the literal understanding of sewing, darning, weaving, spinning, the literary text often presents them metaphorically, as a feminine artifice to overcome or subvert the prevailing patriarchal order, a backbone issue on a theoretical basis undertaken in this research. As a theoretical corpus, the foundation for this work in História das Mulheres do Brasil, Histórias íntimas, Casa Grande & Senzala, Um Teto todo Seu, O Segundo Sexo, and others. The fictional texts analyzed here, O Continente (1949), Os Sinos da Agonia (1974) and O voo da Guará Vermelha, (Objetiva, 2005), present three different profiles of women corresponding, in one way or another, to a Archetype - definition by Carl Jung (1976) - of the weaver woman, each emanating different desires. Following the heart is Ana Terra, within text of Erico Verissimo (1905-1975), As well as the women in their line of succession, Bibiana and Maria Valéria; Taken by her instincts of femme fatale comes Malvina, by Autran Dourado (1926-2012); Facing the social impositions, an argument deeply rooted in the female figure - emerges the seropositive prostitute Irene, a character written by Maria Valéria Rezende (1942). It is analyzed a construction of female people who, molded within an achetypal plane, corresponds the figure of the weaver woman and, thus, they manage to be "owners of their destinies", even under a patriarchal order, through their actions, your desires, your influences. Searches related to the main Brazilian literary histories, such as one organized by Afrânio Coutinho, Alfredo Bosi, Carlos Nejar and others, foundations for the explanation about the critical resourses of the works, besides the literary articles printed and online. In addition, an exclusive interview made on the telephone, which the writer Maria Valéria Rezende gave directly to the author. The work has theoretical, bibliographical and literary fundamentals: it begins with a patriarchy's theory, followed with a critical resourses of the works, crosses the archetypes of the collective unconscious and Greek mythology, in order to arrive at the literature works, where some relations of meaning which fostered as discussions about the theme. The analysis reveals the contours given to weaver characters, contextualizing them, thematically and historically, inside the patriarchal universe to which they are submitted. It shows how such women have created subterfuges to place themselves in this universe governed by man, and even, as they do to control it.
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Kastner, Marianne Sue. „Iktomi: A Character Traits Analysis of a Dakota Culture Myth“. PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/896.
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This qualitative study comparing three separate English-language versions of a single Dakota cultural myth "Iktomi" presents a novel systematic approach for analyzing Native American folk tales to understand how stories function as tools of transmission of cultural information and knowledge. The method involved coding character traits according to type with regard to representation, ability, or attribute to ascertain patterns among the codes and elucidate character roles and relationships, reorganizing the coded traits into paired polarized correspondences to clarify relationships among traits, and assessing pronoun use and documenter effect pointing to gender-specific character activity. Findings revealed an encoded framework illuminating how the tale is used to represent progressive stages in the Dakota vision quest. Analysis using simple word counts of character traits produced emergent patterns disclosing a male-specific focus on character activities with additional evidence delineating a framework for the vision quest traditionally regarded tribally as a male rite of passage.
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Flynn, Warren Flynn Warren. „Fragments of the moon (novel) : and "Body, space, ideas of home : cross-cultural perspectives" (dissertation) /“. Connect to this title, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0073.
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Dokolwane, Kutala Primrose. „Characterization in selected Xhosa novels of the 90's“. Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52160.
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Thesis (MA)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The objective is to found out whether or not characterization in the Xhosa novels of the 1990s improves. This is done with the view that past studies of characterization done before 1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture that a high percentage of writers portray characters as archetypes because of thematic concerns. This often renders characterization poor in the sense that the reader is able to predict the outcome of events through the actions of the characters. However, Zulu (1999:3) argues that with the inceptor of democracy in South Africa in 1994, African Languages literature was liberated as well from several constraints, and reveals some signs of maturing. This study is thus conducted to confirm or refute Zulu's (1999) claim that there are signs of improvement in the way writers portray characters. The study concentrates of four selected Xhosa novels published in the 1990s. The novels are selected on the criteria that they have won literary prizes and are written by prolific writers. It is found that in all four novels, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? and Ukhozi Olumaphiko the novelists have succeededin creating realistic, live, dynamic, complex and multidimensional characters. The change and development of characters are influenced by environmental change as a result of social, political and economic factors. However, the study also shows that some events in Ukhozi Olumphiko are implausible.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van karakters in vier Xhosa novellas in die 1990s. Die hoofdoelstelling is om te bepaal of daar 'n verbetering in kwaliteit is in die Xhosa novellas in die negentiger jare. Hierdie ondersoek word gedoen in die lig van voorafgaande studies soos Jafte (1978, 1996); Satyo (1978); Sirayi (1989) and Dlali (1992) wat bevind dat 'n groot aantal skrywers, karakters in Xhosa novellas as stereoptipes voorstelop grond van die "telematiese" oorwegings at hulle het. Dit het dikwels die gevolg dat karakterisering swak is in die sin dat die leser die uiteinde van gebeurtenisse kan voorspel deur die handelinge van die karakters. Zulu (1999:3) argumenteer egter dat met die verkryging van demokrasie in Suid Afrika, is die letterkunde van die Afrikatale ook bevry, en dit vertoon tekens dat die literêre wasdom bereik. Hierdie studie word dus onderneem om Zulu (1999) se aanspraak te ondersteun of te weerlê dat daar tekens van verbetering is in die wyse waarop skrywers karakters voorstel. Die studie konsentreer op vier geselekteerde Xhosa novelles wat in die 1990s gepubliseer is. Die novelles is geselekteer volgens kriteria dat hulle literêre pryse gewen het en deur erkende skrywers geskryf is. Daar word bevind in die studie dat die skrywers in al vier die novelles, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? en Ukhozi Olumaphiko suksesvol was in die skep van realistiese, lewendige, ekonomiese komplekse en multi-dimensionele karakters. Die verandering en ontwikkeling van karakters word beïnvloed deur omgewingsverandering, sowel as deur sosiale, politieke en ekonomiese faktore. Dit word egter bevind dat sommige handelinge in die novelle Ukhozi Olumaphiko ongeloofwaardig is.
INTSHWANKATHELO ISIXHOSA: Lo msebenzi uphonononga ukuvezwa kwabalinganiswa kwiinoveli zesiXhosa ezine ezibhalwe ukususela kumnyaka ka-1990 ukuya ku-1999. Injongo yalo msebenzi kukuqwalasela ukuba ikho kusini na impucuko kwindlela abazotywa ngayo abalinganiswa kwezi noveli zesiXhosa zibhalwe ngomnyaka ka-1990 ukubheka phambili. Oku kwenziwa phantsi koluvo lokuba izifundo zamandulo ezimalunga nokuzotywa kwabalinganiswa ngokubhalwa nguJafta (1978;1996), uSatyo (1978) uSirayi (1989) noDlali (1992) zibonakalisa ukuba uninzi Iwababhali luveza abalinganiswa njengemizekelo esisiseko ukuzama ukubanxulumanisa nomxholo wenoveli leyo. Oku ke kubeka ukuzotywa kwabalinganiswa kwizinga eliphantsi nanjengoko umfundi aye akwazi lula ukuthelekelela iziphumo zezehlo ngokujonga iintshukumo ezi zabalinganiswa. Ukanti ke, uZulu (1999:3) uveza ukuba ukususela mhla kwamiselwa ulawulo lukawonkewonke okanye inkululeko eMzantsi Afrika ngomnyaka ka-1994, uncwadi IweeLwimi zaseAfrika Iwaye Iwakhululeka nalo, Iwaze Iwabonakalisa iimpawu zokuvuthwa. Lo msebenzi ke ujolise ekuqinisekiseni okanye ekuphikiseni ingcamango kaZulu (1999) yokuba kukho iimpawu ezibonakalisa ukuphuhla kwindlela ababhali abaveza ngayo abalinganiswa. Lo msebenzi ke uza kuqwalasela kwiinoveli zesiXhosa ezine ezikhethiweyo nezishicilelwe kwisithuba sika-1990 ukubheka phambili. Ezi noveli zikhethwe phantsi komgomo wokuba ziphumelele amabhaso oncwadi yaye zibhalwe ngoomakhwekhwetha bababhali abavunyiweyo. Kuye kwafunyaniswa into yokuba kwezi noveli zone, Iqhina lomtshato, Kazi Ndenzeni na?, Koda Kube Nini na?, kunye noKhozi Olumaphiko ababhali beenoveli baphumelele ekwakheni abalinganiswa ababonisa izinto ngobunjalo bazo, abaphilayo, abanentshukumo, abantsonkothileyo nabambaxa. Utshintsho nokuphuhla kwabalinganiswa lubangelwa kukutshintsha kweendawo abahlala kuzo ngokudalwa ziimeko zokuhlala, ezopolitiko, nezoqoqosho. Ukanti ke, ezinye zezehlo kuKhozi Olumaphiko aziqondakali ngokugqibeleleyo.
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Heuschkel, Pamela D. „The use of character names by Benito Perez Galdos in the first series of Episodios Nacionales“. Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1654488681&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Souza, Vanessa Fátima Moraes de. „Mulheres machadianas e os círculos de poder“. Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2602.
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A ordem patriarcal está presente em muitos romances escritos a partir do século XIX, nos quais existe a frequente representação do homem branco em papel de destaque e da mulher em papel inferior, de clara ou velada submissão. Entre essas obras figuram A mão e a luva (1874), Helena (1876) e Iaiá Garcia (1878), escritas por Machado de Assis. Este trabalho se detém nesses três romances para analisar a presença de marcas patriarcais em personagens que pertencem às camadas burguesas da sociedade, sobretudo as figuras femininas, que, de acordo com a ótica aqui adotada, muitas vezes surgem nessas narrativas como pleiteantes a um lugar próximo ao núcleo representado por famílias detentoras de poder que gozam de consideração e prestígio na sociedade de então. Para a realização dessa análise, além de outros pesquisadores, foram empregadas as teorizações de Roberto Reis (1987) para tratar sobre a sociedade patriarcal, as metáforas relacionadas à espacialidade “casa”, “rua”, e “outro mundo” de Roberto DaMatta (1997a, 1997b), bem como os estudos sobre a obra machadiana de Therezinha Mucci Xavier (2005), Roberto Schwarz (2012) e Valdeci Rezende Borges (2007).The patriarchal order is present in many novels written from the nineteenth century, in which there is the frequent representation of the white man in prominent paper and the woman in inferior paper, of clear or veiled submission. These works include A mão e a luva (1874), Helena (1876) and Iaiá Garcia (1878), written by Machado de Assis. This work focuses on these three novels to analyze the presence of patriarchal marks in characters that belong to the bourgeois layers of society, especially the female figures, who, according to the perspective adopted here, often appear in these narratives as plaintiffs to a place nearby to the nucleus, represented by families that hold power that enjoy consideration and prestige in the society of that time. In order to carry out this analysis, besides other researchers, the theories of Roberto Reis (1987) were used to deal with the patriarchal society, the metaphors related to the "home", "street" and "other world" spatiality of Roberto DaMatta (1997a, 1997b), as well as studies about Machado’s work of Therezinha Mucci Xavier (2005), Roberto Schwarz (2012) and Valdeci Rezende Borges (2007).
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Driehuis, Raymond. „Man makes man : a study of uplifting and upbuilding in the novels of Joseph Furphy“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1226.
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In a letter to Kate Baker, circa November 1910, Furphy wrote, '[b]ut ain't it anomalous that the erratic G.H [Grant Hervey], the saintly Dr. Strong, and the perverse T.C. [Tom Collins] should be working strenuously toward the same goal, namely, the uplifting and upbuildlng of Australia' (In Barnes and Hoffmann, eds, 1995:259. My Italics). This thesis is an Investigation of the ideas of uplifting and upbuildlng, and their relevance to Tom Collins and his concerns. The reason for Furphy waiting so long to lay bare his designs can only be speculated. Rather than accepting the general critical stance that Collins is unreliable, and that Furphy meticulously sets out to expose his flaws, this thesis argues that this is not the case. Since he distanced himself publicly from his own novels, refusing to have authorship credited to his name, Furphy wanted his readers to respond to Collins not as his literary creation, but as a fully developed and self-reliant identity capable of setting an example of what it means to uplift and upbuild a national community. The ideas of uplifting and upbuilding are simple enough to comprehend. Yet a proper appreciation of their scope in the novels requires a careful consideration of the historical context which links Collins to many issues of the 1880s. The chief issue is the textual construction of an Australian identity vis-á-vis an Anglo-Australian identity, and the Influence literature has on the common mind. Because of his Involvement with uplifting, upbuilding and self-reliance, there is a complexity to Tom Collins that is the result of his being the implied author, controlling the selection of characters and their narratives, as well as his own self-image, in the novels. The thesis argues that Collins' representation of "Collins", and other characters in the Riverina, is designed to represent the "right" qualities for an Australian character or type, which is consistent with uplifting and upbuilding. For these reasons, the novels are considered as Collins' strategic response to the contemporary representations of life in terms of their value to the search for meaning, and to ways of seeing and responding to the good of an Australian life. Indeed, the character of Tom Collins is very much concerned with personal and communal well-being in an environment of colonial loyalties, rivalry and division, and a landscape often categorized as exotically cruel or dangerous. Because this is so, Collins is concerned with the value of education, with the value of notable Western thinkers and artists, and with the shifting of ignorance for better judgment. He is also concerned with the benefits of democracy and the democratic temper over aristocracy and its emphasis on class and station. Collins is quite a modern thinker, deeply concerned with actions and consequences in art and life. He is a modern thinker because he believes, as Paine, Emerson and Whitman do, that the idea of natural rights is the cornerstone of moral progress for civilization, but only if men and women accept and practise the civil rights that necessarily come with the pursuit of liberty, fraternity, equality and happiness.
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Bean, Joann Ruth MacLachlan. „From Thraso to Herod : Hrotsvitha meets the bragging soldier /“. *McMaster only, 1999.
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Schroeder, Sally Louise. „Allegory as rhetoric: Faulkner's trilogy“. CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1416.
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Bender, Ashley Brookner. „Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707“. Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12081/.
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This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.
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Chappell, Shelley Bess. „Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /“. Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Veras, Gléssia Juliany Brasiliano. „Bárbara e Dona Redonda: de Murilo Rubião a Dias Gomes, realismo maravilhoso e retextualização“. Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21121.
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The present research aims at developing a study on the similarities between the character Dona Redonda, in the telenovela Saramandaia (1976/original version and 2013/remake) by Dias Gomes, and the character Bárbara, in the short story Bárbara (1947) by Murilo Rubião, which can be understood as a form of retextualization. The concept of retextualization refers to a type of translation process that emphasizes the creation of a new text from a previous one, bringing the past back to present while promoting future possibilities for the creation of new texts (PLAZA, 2008). Retextualization implies that all forms of text are intersections of different textual bodies, that is, the so-called rewritings or translations which will always establish connections with previous texts. The analysis focuses on identifying and reflecting upon the points that intertwine such works in terms of similarity, by observing the relationship between them, remarkably perceived through the concept of the magical realism, genre shared by both works. This study also intends to reveal in which sense the character Bárbara, by Murilo Rubião, bears similarities to Dona Redonda, in the fictional world of Saramandaia
Este trabalho tem como objetivo desenvolver um estudo sobre as aproximações entre a personagem Dona Redonda da obra Saramandaia (1976/original e 2013/refilmagem), de Dias Gomes, como uma forma de retextualização da personagem Bárbara do conto Bárbara (1947), do autor Murilo Rubião. O conceito de retextualização refere-se a um tipo de processo tradutório cuja ênfase é a criação de um novo texto a partir de um texto prévio, o qual traz o passado para o presente, ao mesmo tempo em que lança possibilidades futuras para construção de novos textos (PLAZA, 2008). A retextualização implica que todas as formas de texto são intersecções de outras faces textuais, isto é, são traduções ou reescritas que dialogam entre si. Dessa forma, a análise proposta pretende identificar e traçar uma reflexão a respeito de questões que unem essas obras por similaridade, observando a relação entre elas expressa principalmente por meio do realismo maravilhoso, gênero que ambas as obras partilham. Este estudo se propõe a estudar de que forma a personagem Bárbara, de Murilo Rubião, se aproxima da personagem Dona Redonda, no mundo ficcional de Saramandaia
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Piccino, Evandro Avelino. „A persistência de Jeca Tatuzinho: igual a si e a seu contrário“. Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21141.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The central idea of this dissertation is that a significant portion of the explanation of permanence of Jeca Tatu as an integral part of the cultural history of Brazil is in one of its representations, the one contained in the advertising booklet Jeca Tatuzinho. Created by Monteiro Lobato, sponsored by Instituto Medicamenta Fontoura, published in 35 different editions between 1926 and 1973, as well as later versions on the comic format, Jeca Tatu, properly sanitized, became the first and most important advertising character created in Brazil. In the fleeting advertising time, Jeca Tatuzinho is a milestone because it resisted time and the temporary kept following as a permanent reference. His career is chronicled in details considering: (1) the objective circumstances that define the process for approval and publication of advertisement parts; (2) the evolution from the point of view of Lobato on his hillbilly, originally conceived as a “bush burner”; (3) the implications of the involvement of the writer with the interests of sanitarians / hygienists / eugenists Artur Neiva, Belisário Pena e Renato Khel; (4) the profiles of Lobato as a publicist and adman; (5) the relation between Jeca Tatu from Jeca Tatuzinho’s publications and the different representations of Jeca that came before and coexisted with him – on popular poetry, music, caricature and films; (6) the relationship between Monteiro Lobato and Candido Fontoura; (7) the relations that Roger Chartier established between the “materiality of text and textuality of the object”, that implicated on the analysis of the characteristics as dimensions, number of pages, paper quality, color applications and graphic nicety; (8) the possibilities of diversification of public established by a language with ability to speak simultaneously with children, with adults treated as children and adults through the children; (9) the confrontation among the booklets and its two book versions – 1924 and 1930; (10) the comparison among the different versions of the booklets as a result of the changes of illustrators, the plot change in 1940, the inclusion of brands to be advertised, the reduction of pages, the adaptation of the booklet for spelling booklets and comics formats; (11) the checking of dates and circulation data with a projection of a doable number of impressions; (12) the results obtained by the advertiser; (13) the possible “modes of reading” by Jeca Tatuzinho in its different periods in view of its content at the same time fun and instructive; (14) the adjustment and maladjustment among ways to read the Jeca recomposed by Lobato and the hillbilly imagery
A ideia central desta dissertação é a de que parcela significativa da explicação da permanência do Jeca Tatu como parte integrante a história cultural do Brasil está em uma de suas representações, a contida no folheto publicitário Jeca Tatuzinho. Criado por Monteiro Lobato, patrocinado pelo Instituto Medicamenta Fontoura, publicado em 35 diferentes edições entre os anos de 1926 e 1973, além de versões posteriores no formato quadrinhos, Jeca Tatu, devidamente higienizado, se transformou no primeiro e mais importante personagem publicitário criado no Brasil. No tempo fugaz da propaganda, Jeca Tatuzinho é um marco porque resistiu ao tempo e o temporário seguiu como uma referência permanente. A sua trajetória é narrada em detalhes considerando: (1) as circunstâncias objetivas que definem o processo de aprovação e veiculação de peças publicitárias; (2) a evolução do ponto de vista de Lobato sobre o seu caboclo, originalmente concebido como “queimador de mato”; (3) as implicações do envolvimento do escritor com os interesses dos sanitaristas/ higienistas/ eugenistas Artur Neiva, Belisario Pena e Renato Khel; (4) os perfis do Lobato publicista e publicitário; (5) a relação entre o Jeca Tatu de Jeca Tatuzinho e as diferentes representações do Jeca que o antecederam e com ele conviveram – na poesia popular, na música, na caricatura e no cinema; (6) o relacionamento entre Monteiro Lobato e Candido Fontoura; (7) as relações que Roger Chartier estabeleceu entre a “materialidade do texto e a textualidade do objeto”, o que implicou na análise das de características como dimensões, número de páginas, qualidade do papel, aplicação de cores e esmero gráfico; (8) as possibilidades de diversificação de público estabelecidas por uma linguagem com capacidade de falar, simultaneamente, com as crianças, com os adultos tratados como crianças e com os adultos através das crianças; (9) o confronto entre o folheto e suas duas versões em livro – 1924 e 1930; (10) a comparação entre as diferentes edições do folheto em decorrência das mudanças de ilustradores, da revisão do enredo de 1940, de inclusão de marcas a serem anunciadas, da redução do número de páginas, da adaptação do folheto para os formatos cartilha e quadrinhos; (11) a checagem de datas e de dados de circulação com projeção de um número de tiragem factível; (12) os resultados alcançados pelo anunciante; (13) os possíveis “modos de leitura” de Jeca Tatuzinho nos seus diferentes períodos tendo em vista seu conteúdo ao mesmo tempo divertido e instrutivo; (14) o ajuste e desajuste entre as maneiras de ler o Jeca recomposto por Lobato e o Jeca do imaginário caipira
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Toumsy, Salima. „Entre la clarté et la nuit: Jean-Pierre Monnier, écrivain suisse romand“. Doctoral thesis, Universite Libre de Bruxelles, 1999. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211855.
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Flynn, Warren. „Fragments of the moon (novel) ; and“. University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0073.
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Fragments of the Moon is a novel set mostly in South Korea, examining relationships between people, interpersonal spaces, architectural spaces and landscape through a cross-cultural context. Matt, a graduate architect from Perth, Australia, finds himself increasingly vulnerable to cultural confusion as he adjusts to life away from his home and friends. Having initially assumed that Seoul's western facade echoes its social dynamic, Matt increasingly discovers that the Confucianism which underpins much of contemporary Korean society makes all relationships far more complex than his assumptions had allowed. Together with a Canadian student who is seeking to find the essence of a different Korea through her investigation of Buddhism, and through meeting diverse Korean characters, readers will discover several of the many facets of contemporary Korean culture. Readers will be encouraged to test the slippery surfaces on which familiar and unfamiliar attitudes to bodies, landscape and created spaces rest. 'Body, Space, Ideas of Home: Cross-cultural Perspectives' (thesis) The thesis examines the interaction of body space, architectural space, landscape, and emotional states in contemporary literary fiction from several cultural perspectives. Bodies, landscapes, and architectural spaces are shown to be devices through which contemporary authors with different cultural backgrounds have expressed character and explored ideas, especially thematic concerns related to cultural or cross-cultural confusion or understanding. Notions of 'feeling at home' and 'being alien' are investigated through the work of authors who either have a cross-cultural heritage (e.g. Jhumpa Lahiri a Bengali/American), or who write about a culture which is not their own (e.g. Dianne Highbridge, an Australian writing about Japan). Several chosen authors explore the relationships between the spiritual and the physical, the metaphysical and the corporeal. These elements are particularly highlighted when examining the narratives of Tim Winton (The Riders, 1994) and Simone Lazaroo (The World Waiting To Be Made, 1994); and two of Japan's most popular writers, Haruki Murakami (Norwegian Wood, 2000) and Banana Yoshimoto (Lizard, 1995). For some writers, this exploration of spaces forms the focal point of their work; for others, it is an important facet of their narrative world, which helps to ground their writing for contemporary readers whose own backgrounds must also influence their understandings.
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Lavoie, Marie-Renée. „Maria Chapdelaine, part II, la fiction contre le mythe“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/MQ44692.pdf.
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Lemon, Joanne Vivian. „The concept of human nature in five vernacular writers of the French Renaissance“. Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683177.
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Sano, Yoshinori. „Characters' storytelling in the Homeric epics“. Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:610b75ea-1651-4909-8c9c-2dde9bb84bca.
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This thesis is a study of the stories told by characters in the Iliad and the Odyssey. Recent studies have revealed that these stories, which were once generally regarded as mere summaries of lost 'sources', contain various correspondences to their respective contexts, and are thereby integrated into the main narrative of each epic. These stories also contribute to the characterization of principal figures. Thus characters' storytelling should be regarded as an important component of the composition of the Homeric epics. In Part 1, the stories told by characters in the Iliad are divided into four categories: Paradeigmata pertaining to Achilleus (Chapter 1), Paradeigmata in the Diomedeia (Chapter 2), Nestor's stories (Chapter 3), and stories about the Olympian gods (Chapter 4). In Part 2, the stories in the Odyssey are likewise divided into four categories: Agamemnon's nostos (Chapter 5), the Wooden Horse and other events in the Trojan War (Chapter 6), Odysseus' apologoi (Chapter 7), and Odysseus' lying stories (Chapter 8). Under these eight headings, the function of each story is examined in terms of its rhetorical effect, echo of the events in the main narrative, foreshadowing of future events, contribution to the characterization of principal figures, etc. These examinations show that the stories told by characters are closely connected with the main plot of each epic. Interesting differences between the two epics in respect of their use of characters' storytelling emerge from the above examinations. Notably, the Iliadic characters tell stories about heroes of previous generations, whereas the Odyssean characters often tell stories of their own experiences. This is related to the difference between the Iliad and the Odyssey as regards the representation of the past. This and other issues are discussed in the Conclusion.
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Holmes, Jonathan H. „On the Surface of Shakespeare's Characters“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480666230697794.
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Grimshaw, Vicki. „The portrayal of female characters in Hellenistic literature“. Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396600.
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Koch, Kimberly Jean. „Negotiating triple consciousness for August Wilson's female characters“. Click here for download, 2009. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=1934736101&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Wyko, Mary E. „That Besetting Sin: How George Eliot Punishes Her Ambitious Female Characters“. Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1263604143.
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Kilicci, Esra. „J.D. Salinger's characters as existential heroes encountering 1950s America /“. Open access to IUP's theses and dissertations, 2008. http://hdl.handle.net/2069/103.
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Neithardt, Leigh Anne Neithardt. „Narrative Progression and Characters with Disabilities in Children’s Picturebooks“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500310695900109.
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